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62

E

UR

A

MERICA

group.

For the desi gang led by Hardjit, rudeboy rules matter much

more than religion and ethnicity. This is exemplified by Jas’

detailed explanation of the seven rudeboy rules, which include:

“stay outta trouble with the police” (rule #3) and have “the

blingest mobile fone” (rule #2) because “fones were invented for

rudeboys” (Malkani, 2006a: 40-41). And yet, although Jas has

tried to stick to most of the rudeboy rules, he is kicked out of the

gang at the end of the novel because he is found out to have

secretly dated the Muslim girl, Samira Ahmed, who, gorgeous as

she is, is disliked by the desi rudeboys. She is disliked because

Samira’s easy attitude in chatting and hanging around with guys

makes it “too easy for her to break other rules an slip into being

the way they din’t want any desi sister to be

whether she was

Muslim, Sikh or Hindu” (2006a: 64). This emphasis on the

rudeboy rules signifies two points. First of all, by detailing the

rudeboy rules, the novel provides a groundbreaking portrayal of

the rudeboy subculture that transcends ethnicity and religion. The

novel can thus be distinguished from other immigrant fictions that

may similarly deal with second-generation immigrant issues, such

as Zadie Smith’s

White Teeth

(2000). As Graham claims in “‘This

In’t Good Will Hunting,’”

Londonstani

could be argued to be “the

first novel to present the world of British Asian rudeboys to

mass-market audience” (2008b: para. 13). Secondly, the rudeboy

rules demonstrate how gender plays an equally, if not more,

important role than ethnicity in shaping a desi’s identity. On the

one hand, as discussed previously, the rudeboys represented in the

novel are mommy’s boys in that their attachment to their mothers

decides, or influences, who they are and how they behave. On the

other hand, even though they show respect to their mothers, they

appear to have limited and overly conservative views of girls,

leading them, especially the most macho, Hardjit, to discriminate

against Samira, no matter whether she is a Muslim, Sikh or Hindu.

All in all, the rudeboy subculture in the novel demonstrates that